Joseph D’lacey’ın Garbage Man romanında canavar çer-çöp ekolojiler ve cezalandırıcı ekokorku

Expanding on the notions of “rubbish ecology” and “dirty nature” proposed respectively by Patricia Yaeger and Heather Sullivan, this article problematizes nature as rubbish and dirty in Joseph D’Lacey’s Garbage Man (2009). In so doing, this study discloses how every place is now a place of rubbish, and various types of waste that infiltrate into every territory and body radically reconfigure our reality. Addressing the problem of toxic landfill, Garbage Man describes a desperate vision of a totally ruined place and shows how the products of human industry contaminate people and the environments. This ecohorror also exemplifies the reimagining of waste as a dangerous, monstrous garbage man, “Fecalith,” which has killed most of the population in Shreve. So, this article illustrates how the protagonist, Mason, serves to reinforce the suggestion that waste is totally destructive and disruptive. As such, the protagonist attempts to make re-attunement to the dying and changing environment as his encounter in monstrous rubbish ecologies discovers the uncertainty and disorder of the world. The novel thus can be read as a refracted mirror through which we can consider our contemporary preoccupation with garbage, waste, and rubbish. In particular, conjuring up a bleak vision of rubbish ecologies in this ecohorror, D’Lacey illustrates the centrality of waste to consumer society and offers no hope for redemption by punishing the people of Shreve. As a result, as this article concedes, D’Lacey contributes to larger discussions about what nature has become in the twenty-first century, providing insights into our concerns and fears regarding our connection to nature.Patricia Yaeger ve Heather Sullivan tarafından sırasıyla önerilen “çer-çöp ekolojisi” ve “kirli doğa” kavramlarını genişleten bu makale, Joseph D’Lacey’nin Garbage Man [Çöp Adam] (2009) romanında doğayı çöp ve kirli olarak sorunsallaştırmaktadır. Bunu yaparken, bu çalışma, her yerin şu an nasıl bir çöp alanı olduğunu ve her bölgeye ve vücuda sızan çeşitli atık türlerinin gerçekliğimizi kökten nasıl yeniden şekillendirdiğini ortaya koymaktadır. Zehirli çöplük sorununu ele alan Garbage Man, tamamen harap olmuş bir yerin umutsuz bir vizyonunu anlatmakta ve insan endüstrisi ürünlerinin insanları ve çevreyi nasıl kirlettiğini göstermektedir. Bu ekolojik korku (ekokorku), aynı zamanda atığı, Shreve’deki nüfusun çoğunu öldüren tehlikeli, canavar bir çöp adam, “Fecalith” olarak yeniden tasavvur edilmesini örneklendirmektedir. Dolayısıyla, bu makale, başkahraman Mason Brand’in, çer-çöpün tamamen yıkıcı olduğu fikrini nasıl pekiştirdiğini göstermektedir. Böylelikle, canavar çer-çöp ekolojilerindeki karşılaştıkları dünyanın belirsizliğini ve kargaşasını belirtirken, başkahraman ölmekte olan ve değişen çevreye yeniden uyum sağlamaya çalışır. Roman, böylelikle atıklarla ve çer-çöplerle olan çağdaş meşguliyetlerimizi değerlendirebileceğimiz kırılmış bir ayna olarak okunabilir. D’Lacey, özellikle bu eko-korkuda çer-çöp ekolojilerinin kasvetli bir vizyonunu ortaya koyarak, atığın tüketici toplumundaki merkeziyetini gözler önüne sermekte ve Shreve halkını cezalandırarak kurtuluş umudu sunmamaktadır. Sonuç olarak, bu makalenin de kabul ettiği gibi, D’Lacey, yirmi birinci yüzyılda doğayla ne hale geldiği hakkında daha geniş tartışmalara katkıda bulunarak, doğayla bağlantımızla ilgili kaygılarımız ve korkularımıza dair bir içgörü sağlar

Posthuman “Meta(l)morphoses” in Jeanette Winterson’s The Stone Gods // "Meta(l)morfosis" posthumanas en The Stone Gods de Jeanette Winterson

      Jeanette Winterson’s The Stone Gods (2007) pictures a futuristic world in which every body is technologically, discursively, and materially constructed. First of all, The Stone Gods foregrounds the futuristic conceptualization of embodiment and posthuman gendered bodies in relation to biotechnology, biogenetics, and robotics, interrogating contemporary dimensions of the interface between the human and the machine, nature and culture. Secondly, the novel focuses on environmental concerns relevant to our present age. More specifically, however, drawing our attention to posthuman toxic bodies in terms of “trans-corporeality,” as suggested by Stacy Alaimo, The Stone Gods is an invaluable literary means to speculate on our “posthuman predicament,” in Rosi Braidotti’s words, and global ecological imperilment. In The Stone Gods, Winterson provides not only a warning against the dehumanization of the human in the process of posthumanization, but also a salient picture of posthuman trans-corporeal subjects through a discussion of the beneficial and deleterious effects of biotechnology and machines on human-nonhuman “naturecultures.” On this view, looking at both human and nonhuman bodies through a trans-corporeal lens would contribute to an understanding of how material-discursive structures can profoundly transform human-nonhuman life on Earth. Resumen       The Stone Gods (2007) de Jeanette Winterson describe un mundo futurístico en el que todo el mundo está construido tecnológica, discursiva y materialmente. En primer lugar, The Stone Gods pone en primer plano la conceptualización futurista de la materialización y de los cuerpos  posthumanos provistos de género en relación con la biotecnología, la biogenética y la robótica, cuestionando las dimensiones contemporáneas del interfaz entre el humano y la máquina, naturaleza y cultura. En segundo lugar, la novela se centra en preocupaciones medioambientales relevantes en nuestra época. Más específicamente, sin embargo, haciendo notarlos cuerpos tóxicos post-humanos en términos de “trans-corporalidad,” tal y como sugiere Stacy Aliamo, The Stone Gods es un medio literario que no tiene precio a la hora de especular sobre nuestro “dilema posthumano,” en palabras de Rosa Braidotti, y sobre la peligrosidad ecológica global. En The Stone Gods Winterson no solo ofrece una advertencia sobre la deshumanización del humano en el proceso de posthumanización, sino también una imagen destacada de los sujetos posthumanos trans-corporales por medio de un debate de los efectos beneficiosos y dañinos de la biotecnología y de las máquinas sobre las “naturaculturas” humanas-no-humanas. En este sentido, observando los cuerpos humanos y no-humanos a través de una lente trans-corporal contribuiría a comprender cómo las estructuras materiales-discursivas pueden transformar profundamente la vida humana-no-humana de la Tierra

Postnatural Environments: Literary Cartographies of Pollution in Jim Crace’s The Pesthouse, John Burnside’s Glister, and Joseph D’Lacey’s Garbage Man

Drawing attention to the dark side of nature-culture interactions, this dissertation addresses the question of what comes after nature by exploring how toxicity signals the end of pristine, untouched nature, and how nature becomes “postnatural” in the twenty-first-century British fiction, namely Jim Crace’s The Pesthouse (2007), John Burnside’s Glister (2008), and Joseph D’Lacey’s Garbage Man (2009). These three novels, which are mainly concerned with environmental issues, provide penetrating insights into polluted and poisoned environments, and express ecological concerns in consideration of human exposures to toxicity in quotidian lives. In this context, they specifically present the ways in which postnatural environments are already part of people’s bodily natures by highlighting the ongoing toxic interaction between the human and the environment. In this way, expanding on the recent discussions on “postgreen ecology,” “dark ecology,” and “rubbish ecology,” this study offers an ecocritical engagement with the selected novels, illustrating how each of them helps to focalise and trouble literary, cultural and ecological assumptions about polluted environments. In the introduction of this dissertation, the arguments about postnatural environments are explained by using contemporary ecocritical theories. These three novels are discussed in three respective chapters in terms of postgreen, dark, and rubbish ecologies that create postnatural cartographies through toxicity. The first chapter examines Jim Crace’s The Pesthouse, exploring how the environmental damage already wrought on the planet and its atmosphere by anthropogenic intervention produces postgreen ecologies. The second chapter scrutinizes John Burnside’s Glister, and demonstrates how toxins and pollutants in the air and the soil due to derelict chemical factory create dark ecological transformations in a post-industrial town. The third chapter analyses Joseph D’Lacey’s Garbage Man, in its social and ecological contexts, as it questions how garbage and dumping can produce rubbish ecologies and how consumerism can construct rubbish societies. These chapters undertake ecocritical readings in relation to the relevant theoretical discussions. In consequence, postnatural environments as exemplified in these novels indicate a “postecological” reality generated by postgreen, dark, and rubbish ecologies. This reality shows how humans and nonhumans are trans-corporeally connected in toxic relations.KABUL VE ONAY …………………………………………………………………….i BİLDİRİM ………………………………….………………………………………….ii YAYIMLAMA VE FİKRİ MÜLKİYET HAKLARI BEYANI ……………..…….iii ETİK BEYAN ………………………………………………………..………...……...iv ACKNOWLEDGEMENTS …………………………………………………………...v ÖZET ………………………………………………………………………………….vii ABSTRACT …………………………………………………………………………...ix TABLE OF CONTENTS ……………………………………………………………..xi INTRODUCTION: AN ECOLOGICAL CARTOGRAPHY OF POSTNATURES ……………………...………………………………………………………………....…1 CHAPTER I: POSTGREEN LANDSCAPES IN JIM CRACE’S THE PESTHOUSE ……………………………………………………………………….…23 CHAPTER II: DARK ECOLOGIES IN JOHN BURNSIDE’S GLISTER …….....60 CHAPTER III: DIRTY NATURES IN JOSEPH D’LACEY’S GARBAGE MAN ………………………………………………………………………………….………86 CONCLUSION: TOWARD A POSTECOLOGICAL PARADIGM AFTER NATURE ……………………………………………………………………….……119 NOTES ……………………………………………………………………………….125 WORKS CITED …………………………………………………………..…..…….127 APPENDIX I: GLOSSARY …………………………………………………...……144 APPENDIX II: ORIGINALITY REPORTS …........…………………………….. 146 APPENDIX III: ETHICS BOARD WAIVER FORMS ………………………......148Doğa-kültür etkileşimlerinin karanlık yönüne dikkat çeken bu tez, Jim Crace’in The Pesthouse (2007), John Burnside’ın Glister (2008) ve Joseph D’Lacey’in Garbage Man (2009) romanlarında zehirliliğin nasıl el değmemiş, bâkir doğanın sonuna işaret ettiğini ve doğanın nasıl “doğa sonrası” hâle geldiğini inceleyerek doğadan sonra ne geldiği sorusu üzerine eğilir. Temel olarak çevre sorunlarıyla ilgilenen bu üç roman, kirlenen ve zehirlenen çevrelere ışık tutmaktadır ve günlük yaşantılarda insanın zehirliliğe maruz kalmasını göz önünde tutarak ekolojik kaygıları dile getirmektedir. Bu bağlamda romanlar özellikle insan ve çevre arasında süregelen toksik etkileşimi vurgulayarak nasıl doğa sonrası çevrelerin zaten insan bedeninin bir parçası olduğunu ortaya koyarlar. Böylelikle “yeşil sonrası ekoloji,” “karanlık ekoloji” ve “çöp ekolojisi” ile ilgili son dönem akademik tartışmaları ayrıntılarıyla açıklayan bu çalışma, her romanın nasıl kirlenen çevrelerle edebi, kültürel ve ekolojik varsayımlara odaklandığını ve nasıl bu varsayımları sorunlaştırdığını örneklendirir ve seçili romanlarla ekoeleştirel bir bağlantı kurar. Bu tezin giriş bölümünde güncel ekoeleştirel kuramlar kullanılarak doğa sonrası çevrelerle ilgili tartışmalar açıklanmıştır. Bu üç roman, zehirlilik bağlamında doğa sonrası kartograflar yaratan yeşil sonrası, karanlık ve çöp ekolojileri olarak üç farklı bölümde tartışılmıştır. Birinci bölüm insan kaynaklı müdahaleyle gezegene ve atmosfere yapılmış çevresel zararın nasıl yeşil sonrası ekolojiler ürettiğini mercek altına alarak Jim Crace’in The Pesthouse romanını incelemektedir. İkinci bölüm sanayi sonrası bir kasabada harabe kimya tesisi yüzünden havada ve toprakta biriken zehirlerin ve kirleticilerin nasıl karanlık ekolojik dönüşümler ortaya çıkardığını gösterecek ve bu bağlamda John Burnside’ın Glister romanını irdeler. Üçüncü bölüm ise çöp ve çöp atıklamanın nasıl çöp ekolojiler yarattığını ve tüketimciliğin nasıl çöp toplumlar oluşturduğunu sorgularken sosyal ve ekolojik bağlamlarda Joseph D’Lacey’in Garbage Man romanını analiz etmektedir. Bu bölümler ilgili kuramsal tartışmalarla bağlantılı olarak ekoeleştirel okumalarda bulunmaktadır. Sonuç olarak bu romanlarda örneklenen doğa sonrası çevreler yeşil sonrası, karanlık ve çöp ekolojilerin meydana getirdiği “ekolojisonrası” gerçeği göstermektedir. Bu gerçeklik insanların ve insan-dışı canlıların nasıl bedenler-arası olarak toksik ilişkiler içerisinde birbiriyle bağlantılı olduğunu belirtmektedir

"Meta(l)morfosis" posthumanas en "The Stone Gods" de Jeanette Winterson

Jeanette Winterson’s “The Stone Gods” (2007) pictures a futuristic world in which every body is technologically, discursively, and materially constructed. First of all, "The Stone Gods" foregrounds the futuristic conceptualization of embodiment and posthuman gendered bodies in relation to biotechnology, biogenetics, and robotics, interrogating contemporary dimensions of the interface between the human and the machine, nature and culture.Secondly, the novel focuses on environmental concerns relevant to our present age. More specifically, however, drawing our attention to posthuman toxic bodies in terms of “trans-corporeality,” as suggested by Stacy Alaimo, “The Stone Gods” is an invaluable literary means to speculate on our “posthuman predicament,” in Rosi Braidotti’s words, and global ecological imperilment. In “The Stone Gods”, Winterson provides not only a warning against the dehumanization of the human in the process of posthumanization, but also a salient picture of posthuman trans-corporeal subjects through a discussion of the beneficial and deleterious effects of biotechnology and machines on human-nonhuman “naturecultures.” On this view, looking at both human and nonhuman bodies througha trans-corporeal lens would contribute to an understanding of how material-discursive structures can profoundly transform human-nonhuman life on Earth."The Stone Gods" (2007) de Jeanette Winterson describe un mundo futurístico en el que todo el mundo está construido tecnológica, discursiva y materialmente. En primer lugar, The Stone Gods pone en primer plano la conceptualización futurista de la materialización y de los cuerposposthumanos provistos de género en relación con la biotecnología, la biogenética y la robótica, cuestionando las dimensiones contemporáneas del interfaz entre el humano y la máquina, naturaleza y cultura. En segundo lugar, la novela se centra en preocupaciones medioambientales relevantes en nuestra época. Más específicamente, sin embargo, haciendo notarlos cuerpos tóxicos post-humanos en términos de “trans-corporalidad,” tal y como sugiere Stacy Aliamo, The Stone Gods es un medio literario que no tiene precio a la hora de especular sobre nuestro “dilema posthumano,” en palabras de Rosa Braidotti, y sobre la peligrosidad ecológica global. En The Stone Gods Winterson no solo ofrece una advertencia sobre la deshumanización del humano en el proceso de posthumanización, sino también una imagen destacada de los sujetos posthumanos trans-corporales por medio de un debate de los efectos beneficiosos y dañinos dela biotecnología y de las máquinas sobre las “naturaculturas” humanas-no-humanas. En este sentido, observando los cuerpos humanos y no-humanos a través de una lente trans-corporal contribuiría a comprender cómo las estructuras materiales-discursivas pueden transformar profundamente la vida humana-no-humana de la Tierra

"Meta(l)morfosis" posthumanas en "The Stone Gods" de Jeanette Winterson

Jeanette Winterson’s “The Stone Gods” (2007) pictures a futuristic world in which every body is technologically, discursively, and materially constructed. First of all, "The Stone Gods" foregrounds the futuristic conceptualization of embodiment and posthuman gendered bodies in relation to biotechnology, biogenetics, and robotics, interrogating contemporary dimensions of the interface between the human and the machine, nature and culture.Secondly, the novel focuses on environmental concerns relevant to our present age. More specifically, however, drawing our attention to posthuman toxic bodies in terms of “trans-corporeality,” as suggested by Stacy Alaimo, “The Stone Gods” is an invaluable literary means to speculate on our “posthuman predicament,” in Rosi Braidotti’s words, and global ecological imperilment. In “The Stone Gods”, Winterson provides not only a warning against the dehumanization of the human in the process of posthumanization, but also a salient picture of posthuman trans-corporeal subjects through a discussion of the beneficial and deleterious effects of biotechnology and machines on human-nonhuman “naturecultures.” On this view, looking at both human and nonhuman bodies througha trans-corporeal lens would contribute to an understanding of how material-discursive structures can profoundly transform human-nonhuman life on Earth."The Stone Gods" (2007) de Jeanette Winterson describe un mundo futurístico en el que todo el mundo está construido tecnológica, discursiva y materialmente. En primer lugar, The Stone Gods pone en primer plano la conceptualización futurista de la materialización y de los cuerposposthumanos provistos de género en relación con la biotecnología, la biogenética y la robótica, cuestionando las dimensiones contemporáneas del interfaz entre el humano y la máquina, naturaleza y cultura. En segundo lugar, la novela se centra en preocupaciones medioambientales relevantes en nuestra época. Más específicamente, sin embargo, haciendo notarlos cuerpos tóxicos post-humanos en términos de “trans-corporalidad,” tal y como sugiere Stacy Aliamo, The Stone Gods es un medio literario que no tiene precio a la hora de especular sobre nuestro “dilema posthumano,” en palabras de Rosa Braidotti, y sobre la peligrosidad ecológica global. En The Stone Gods Winterson no solo ofrece una advertencia sobre la deshumanización del humano en el proceso de posthumanización, sino también una imagen destacada de los sujetos posthumanos trans-corporales por medio de un debate de los efectos beneficiosos y dañinos dela biotecnología y de las máquinas sobre las “naturaculturas” humanas-no-humanas. En este sentido, observando los cuerpos humanos y no-humanos a través de una lente trans-corporal contribuiría a comprender cómo las estructuras materiales-discursivas pueden transformar profundamente la vida humana-no-humana de la Tierra

Happiness Optimism Anti-Utopia Loneliness Paradise UTOPIAS Civilisation Anger DYSTOPIAS Horror Dream Ideal Safety Order Peace Urban Pollution Decay Bleak Stability Hope Destruction Unsettling

I would like to extend my gratitude to the President of Hacettepe University Prof. Dr. A. Haluk ÖZEN and his team for their kind support towards the realisation of the second of the graduate conferences, “Innovative Representations of ‘Utopias’ in Studies in English,” organised by the Centre for British Literary and Cultural Studies and held on 15-16 March 2016, and the publication of this book. I also convey my heartfelt thanks to the speakers at the conference for sharing with us their noteworthy research honouring the 500th anniversary of the publication of Thomas More’s Utopia. Furthermore, I owe special thanks to the members of the administrative board of the Centre for British Literary and Cultural Studies for their unequivocal support towards the publication of selected papers presented at the conference. I would also like to thank Prof. Dr. Burçin EROL, the Head of the Department of English Language and Literature, for her invaluable support. I am also truly grateful to the referees, Prof. Dr. Burçin EROL, Prof. Dr. Huriye REİS, Prof. Dr. Aytül ÖZÜM, Prof. Dr. Hande SEBER, Assist. Prof. Dr. Sinan AKILLI, Dr. Pınar TAŞDELEN, Dr. Jason M. WARD and Dr. Aslı DEĞİRMENCİ for their meticulous efforts in reviewing the papers. I also express my gratitude to Res. Assist. Şafak HORZUM and Res. Assist. Zümre Gizem YILMAZ for their assistance towards the organisation of the conference and the publication of this book. I am also thankful to Res. Assist. Özden DERE, Res. Assist. Merve DİKİCİLER, Res. Assist. Selim ERDEM, Res. Assist. Ulaş ÖZGÜN and Res. Assist. Kübra VURAL who have helped with the proof reading. Moreover, I am thankful to the personnel at Hacettepe Basımevi for their diligent wor

İngiliz Edebiyatında Toplumsal Cinsiyet

Bu kitabın oluşmasında özveriyle ve titizlikle çalışan katılımcı genç akademisyen arkadaşlara, baskıya hazırlayan Hacettepe Üniversitesi Basımevine ve kitabın yayımlanmasına izin ve destek veren Hacettepe Üniversitesi Rektörlüğüne teşekkürlerimizi sunarız

Innovative Representations of Sexualities in Studies in English

This book comprises the papers presented by graduate students at the conference entitled “Innovative Representations of ‘Sexualities’ in Studies in English” organised by the Centre for British Literary and Cultural Studies, Hacettepe University, Ankara, Turkey, on 11 March 2015. These papers were not only reviewed by referees but were further revised extensively and edited by myself. The objective in the organisation of the first graduate conference held by the Centre and the publication of the papers presented at the conference was to provide graduate students with an academic platform to present their current research and discuss their ideas with their peers and professors. The papers published in the book deal with different aspects of sexuality in literature and non-literary media. The papers provide readings of sexuality, which is a complex and multidisciplinary topic, not just through poetry, fiction and drama but also as represented in feature films, animations and TV series because of the dominance of visual culture in today’s societies. Drawing on relevant theoretical material, mainly feminist and queer theories, these papers explore and question how sexuality is represented in a variety of mediums and how it functions. In addition, the ways in which sexuality is conceptualised and constructed is interrogated mostly with the intention of deconstructing essentialist notions of sexuality and identity formation. In this postmodernist era in which sexual and gender identities are no longer limited to two binary sexes, the papers invite the readers to reconsider their understanding of sexuality. Along with non-binary understandings of both sex (male, female, or intersex) and gender (man, woman, transgender, third gender and so forth) even non-human sexualities are taken into consideration. Furthermore, how sexualities are linked to hegemonic categories of identity, such as nationality, race, class and gender is discussed